Concerning the Spiritual in Art — A Closer Reading

The Triangle as a Model of Spiritual Progress

Kandinsky's central metaphor is the triangle, which he uses to describe the movement of spiritual life. The apex is occupied by a single 'advanced' individual, while the base contains the majority who lag behind. As the triangle moves upward, what was once at the apex becomes the new base. This model is not merely descriptive but prescriptive: the artist's duty is to push the triangle forward, even if his work is misunderstood by contemporaries.

The metaphor appears in the first part of the book, 'About General Aesthetic,' and is reinforced by references to historical examples. Kandinsky claims that 'the impossibility and, in art, the uselessness of attempting to copy an object exactly' drives artists toward abstraction. The triangle thus serves both as a theory of history and a justification for the avant-garde's break with representation.

Readers should note that the triangle is not a static symbol but a dynamic one: its movement is the engine of artistic change. Kandinsky's language here is declarative, almost manifesto-like, contrasting with the more analytical tone of later sections on color theory.

The Language of Color and Form

In the second part of the book, Kandinsky shifts from historical metaphor to a systematic analysis of color and form. He argues that colors have a 'psychological working' that affects the viewer directly, independent of subject matter. For example, he associates yellow with 'earthly' warmth and blue with 'spiritual' depth, though the excerpts do not specify his full color chart.

Form, too, carries inherent meaning. Kandinsky distinguishes between 'material' form (which describes an object) and 'abstract' form (which describes a non-material entity). He lists examples of abstract forms: 'a circle, a triangle, a rhombus, a trapeze, etc.' These forms, he claims, have 'life and value as such.' The artist's task is to balance these two poles, since 'purely abstract forms are beyond the reach of the artist at present.'

This section is more technical than the opening, with footnotes that clarify terms like 'idealization' and 'selection.' Kandinsky's prose becomes dense, and the translator's note about verbosity is most applicable here. The reader may need to slow down to follow the argument.

Composition and the Inner Necessity

Kandinsky's theory of composition is built on the idea of 'inner necessity'—the artist's compulsion to express a spiritual content. He distinguishes two levels of composition: the arrangement of the whole picture and the creation of individual forms that 'stand in different relationships to each other.' These forms may be antagonistic, but their very conflict contributes to the harmony of the whole.

He illustrates this with examples from art history, such as Cézanne's 'Bathing Women,' which is 'built in the form of a triangle.' Kandinsky praises Cézanne for using the triangle 'for purely artistic purposes,' distorting the human figure to fit the geometric structure. In contrast, Raphael's 'Holy Family' uses the same shape merely to harmonize the group, 'without any mystical motive.'

This comparison reveals Kandinsky's hierarchy: art that serves inner necessity is superior to art that merely decorates. The reader should note that Kandinsky does not reject representation outright; rather, he subjugates it to the demands of composition. The 'abstract idea' is 'creeping into art,' but it does so through the manipulation of organic forms, not their elimination.

Kandinsky's book is best approached as a series of linked arguments rather than a linear manual. The reader may find it useful to read the translator's introduction first, as it contextualizes the author's position in the Munich avant-garde. Pay attention to the shifts in register: the declarative tone of the triangle metaphor gives way to the analytical language of color theory, then to the practical discussion of composition. The footnotes are essential, as they often clarify terms that Kandinsky uses idiosyncratically. This is a work that rewards rereading, especially for those interested in the theoretical foundations of abstract art.